Hidden Lessons: The Fifth Annual EYSO Faculty Recital

In its fifth annual recital Sunday, the faculty and staff of Elgin Youth Symphony Orchestra performed a wide variety of short, interesting pieces for an audience of mostly students and parents, but their finest work was not specifically noted in the program.

These inspired artists each taught a different lesson—often hidden, but always powerful—with their choice of material and careful performances.

Daryl Silberman performs
 three movements from
Canonic Sonata No. 1
in G Major by Telemann.

In her "digital duet" of three movements by Georg Telemann, violinist Daryl Silberman vividly demonstrated how listening is just as important to musicianship as is playing. Her delay-enhanced renditions, like performing in front of a mirror, makes the point that at times, we may learn the most when we listen to ourselves.

A minimalist composition by Philip Glass tied in neatly with EYSO's spring theme (exploring musical concepts of time), but another truth could be found in its world premiere arrangment for piano and four hands by Rachel Elizabeth Maley: a piece of music lives many lives. With every new performance or arrangement, we create a new life for it, using one of the few human powers that approach the divine.

Like the other selections in the recital, program notes for the marimba solo by Joe Beribak provided concise history and listening points, but his expert mallet work illustrated something different that every artist or athlete eventually must learn. Performance involves your whole body—its systems, size, position and proportion—and how it interacts with the space around it.

Joseph Beribak performs
Capricho Árabe by Tárrega.

The EYSO Faculty Recital offers unexpected instrumentation, like the combination of trumpet, violin and piano. Beyond the interesting pairing of brass with strings, the trio of Jason Flaks, Andrew Masters and Rachel Maley suggests that all voices, even muted ones, are capable of great beauty, and that everything that's beautiful is, first and foremost, sincere.

The Piano Quartet by Gustav Mahler is noteworthy because it's the only surviving piece of chamber music from the great symphonist's earliest years. Serving not just as a vehicle for the expressive playing by EYSO faculty, it proves that great work by a student is meaningful, and not everything from our own youth need be discarded.

Anthony Krempa (violin), Rachel E. Maley (piano),
Theresa Goh (viola) and Timothy Archbold (cello)
perform Piano Quartet in A Minor by Gustav Mahler.

With his well-placed "teachable moments," EYSO Artistic Director Randal Swiggum confirms what we have repeated for decades, that in Elgin, you can get as great an education as you want ... you simply have to want one.

Perhaps above all, this recital showed that technical perfection, despite its pedagogical importance, is not the goal of music education. Artistic expression is part of our humanity, and whether we choose the notes, play the notes, or listen to the notes, we can communicate across centuries in ways that transcend any particular language or doctrine.

The EYSO experience is not just for students who are preparing for advanced musical study; it is for any student preparing for a higher quality of life. For more information, visit www.eyso.org.

Timothy Archbold (cello), Randal Swiggum (piano) and Karen Archbold
(soprano) perform Geistliches Wiegenlied by Johannes Brahms.

Grams a "Titan" in Debut as Elgin Symphony Director

A new direction could be seen as well as heard in the Elgin Symphony Orchestra's season opener Saturday night at the near-capacity Hemmens Cultural Center. 

Regular patrons noticed the changes to the orchestra's former layout, with basses on the left and low brass on the right. Cellos and second violins swapped positions, following a recent trend toward authenticity which suited this weekend's program especially well.

In his conducting debut as ESO Music Director, the dashing Andrew Grams preceded his opening remarks with a gracious rendition of the National Anthem, bringing both the audience and the musicians to their feet. His welcome was instantly endearing as he invited the community to join him and the ESO on a "musical journey" — a theme echoed by his message in the printed program guide which, like last year, was strong on content but noticeably weak on ad sales.

The two concert works by George Gershwin marked an excellent place to begin this journey, as they represent a uniquely American blend of jazz, popular song, and classical rigor.   Many listeners can only relate to symphonic music in the context of motion picture soundtracks, thus the attention-grabbing Second Rhapsody, taken from a 1932 movie score, fit the occasion perfectly. The powerful strides of solo pianist Terrence Wilson, along with colorful clarinet and muted trumpet remind us why we never tire of Gershwin's portrayals of the raucous counterpoint of twentieth century urban life.

Variations on "I Got Rhythm" showcased the professionalism of the ESO, which sounded like a fine studio orchestra, but at times overpowered Wilson's effervescent piano, making it difficult to hear during tutti sections. Grams' conducting was sometimes animated and evocative, and other times polished and pragmatic throughout the first half of the program.

After intermission, thoughtful remarks by Elgin Mayor David Kaptain highlighted the history and partnership of the city and its ensemble, noting that many of the ESO's artists serve the local community as teachers. One local student symbolically passed the baton to new Music Director Andrew Grams, who becomes only the fourth in 64 years.

It's clear why Maestro Grams is so popular with the musicians and Board (as he will be with audiences). He seems to cherish his audience, engaging us without condescending; and his style is spontaneous and casual but still elegant, opting for a suit and necktie instead of a white bow and tails.

The program concluded with Symphony No. 1 "Titan" by Gustav Mahler, an immense work requiring nearly double the typical number of wind instruments, and lasting the better part of an hour. Similar in concept and reminiscent of well-known works by Mahler's contemporary Richard Strauss, "Titan" is very listenable as it travels through a wide expanse of space, scale and setting. Despite the occasional imprecisions that creep into early fall performances, the brilliant section work by the ESO winds was matched by Maestro Grams' dramatic interpretation and eloquent left hand. With its changing moods, diction, turns and false endings, Mahler's "Titan" was a superb choice of overture to what we hope are many successful seasons with Andrew Grams and the Elgin Symphony Orchestra.